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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Hans ZimmerJim DooleyLorne BalfeHenry Jackman
ComposerAdditional MusicAdditional MusicAdditional Music
The Simpsons Movie (Complete Score)
Label: Unofficial Release
Length: 76'10
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (5021 votes)
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  1. 1m02v3 (0:32)
  2. 1m03-04v4 (0:24)
  3. 1m05v2 (0:20)
  4. 1m06v11 (0:30)
  5. 1m07s - Green Day Theme (1:24)
  6. 1m03s v2 (0:15)
  7. 1m09s - American Idiot Funeral Version (0:46)
  8. 1m10sv04 c13 (0:20)
  9. 1m11-12v17 (1:11)
  10. 1m13v8.10 (0:38)
  11. 2m14-15v2 (0:54)
  12. 2m16v5.1 ALT (0:31)
  13. 2m18v5.1 (0:50)
  14. 2m19v8FIX (1:11)
  15. 2m20-23v5 (0:47)
  16. 2m21s - Turtles Happy Together (2:57)
  17. 3m24v4.6 (1:21)
  18. 3m26v3 (0:32)
  19. 3m28v3 (0:15)
  20. 3m29v5 (0:24)
  21. 3m30s Town Hall Guitar (0:17)
  22. 3m32 w Whistling (0:19)
  23. 3m33v1 (0:09)
  24. 4m34v1 (0:27)
  25. 4m35v10.0 (1:28)
  26. 4m36v13 (0:27)
  27. 4m37v20 (1:26)
  28. 4m38v3 (0:18)
  29. 4m39v16 (0:48)
  30. 5m40x v3.1 (0:07)
  31. 5m42v3 (0:31)
  32. 5m44v1 (0:08)
  33. 5m46v5 (4:30)
  34. 5m49-50v15 (0:59)
  35. 6m51v2 (0:24)
  36. 6m52v5 (1:29)
  37. 6m53v2 (0:22)
  38. 6m54s Carousel Ride (1:16)
  39. 6m55-56v5 (0:54)
  40. 6m57-58v10 (1:08)
  41. 6m59-60v6 (1:06)
  42. 7m61v6.2 (1:03)
  43. 7m62-63v13 (1:40)
  44. 7m64s Grand Canyon AD (1:44)
  45. 7m66v3.1 (0:51)
  46. 7m67as v4 (0:24)
  47. 7m67bs v1 (0:06)
  48. 7m68v1.2 (0:42)
  49. 7m69s - Carpenter Close To You (3:42)
  50. 7m70v1.2 (0:31)
  51. 8m72-73v6 (2:22)
  52. Spiderpig v1.7 (1:06)
  53. 8m74v3.1 (0:36)
  54. 8m75-76v3 (0:35)
  55. 8m78v1.6 (0:25)
  56. 8m79s Sax (0:16)
  57. 8m80v5 (0:56)
  58. 8m81v3.1 (0:07)
  59. 8m82v1.2 (0:15)
  60. 8m83v2 (0:34)
  61. 9m84-86v1.10 (0:36)
  62. 9m85s Harmonica v3 Dry (0:07)
  63. Untitled Track 18 (0:51)
  64. 9m87-89v6 (1:39)
  65. 9m90v91v.1.8 (0:48)
  66. 9m92v1.14 (2:28)
  67. 10m93v7 (0:41)
  68. 10m93v8 (0:43)
  69. 10m94v3 (1:51)
  70. Homer v3 (5:08)
  71. Giddyup v1.1 (3:08)
  72. Theme v2.0 (4:57)
  73. Springfield Anthem (Cast) (0:40)
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vced reply Replies: 9 || 2015-04-19 20:49:37
Great score. But its a pity the credited composer wrote almost none of it.

I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc.

Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his.

I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.


Hybrid Soldier2015-04-19 20:53:59
Well if you take the cue sheet every composer is credited for every cue on this score...

The name on the film credit is a contract.


I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...


Zimson2015-04-19 22:59:11
Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.

"Hans is good at what he's good at, simple melodies and interesting sound-scapes."

You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections.

It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.

And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.


Hybrid Soldier2015-04-19 23:13:32
Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...

But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...

I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...


Edmund Meinerts2015-04-19 23:14:36
Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)


NM2015-04-20 00:11:30
Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score!


Edmund Meinerts2015-04-20 00:35:44
"More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.


isildur2015-04-20 22:59:38
"I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him"

LOL. How funny is this statement. Just can't stop laughing. Ignorance is bliss.


Leo2015-04-21 02:29:38
>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...

Now you got me curious...


JamesT2015-04-21 04:43:13
@vced:
"The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me."

Interesting you impress upon this point with this score. Conversely, like Hybrid cites, a contract is a contract. Let us not pretend that Hans kicks and shoves his collaborators -- writers, arrangers, etc -- into a closet never to be mentioned or heard from again. Essentially everything he does is a collaboration, and credited so appropriately, minus an example or so by my observations.

I don't criticize Harry or Powell every time the liner notes from a score don't specifically praise Hans.

Who knows @ the dynamics, influence, inspiration, success of a given cue? Those that work on it. From the idea, to the last note.




rEne. reply Replies: 0 || 2012-09-13 23:12:42
The Simpsons Movie - Complete Score Tracklist ;-
CD 1

01. Moon Landing (0:32)
02. Itchy the Hero (0:24)
03. An Accidental Launch (0:20)
04. Simpsons Theme (0:30)
05. Simpsons Green Day Theme (1:24)
06. Source Cue (0:15)
07. American Idiot Funeral Version (0:46)
08. Church Organ Source (0:20)
09. Church Prophecy (1:11)
10. Homers Chores (0:38)
11. Lisa Goes Door to Door (0:54)
12. Lisa and Colin (0:31)
13. Bart Skates (0:50)
14. Bart Humiliated (1:11)
15. A Twisted Tail (0:47)
16. Turtles Happy Together (2:57)
17. Thats What Snug Is (1:21)
18. Marge Cleans (0:32)
19. Fishing with Flanders (0:15)
20. The Lake (0:24)
21. Town Hall Guitar (0:17)
22. Town Cleanup (0:19)
23. Simpson Home (0:09)
24. Pig Crap (0:27)
25. Homer Takes A Dump (1:28)
26. EPA Arrive (0:27)
27. Operation Dome Drop (1:26)
28. Town Gathers (0:18)
29. Trapped Like Carrots (0:48)
30. Trappuccino Source (0:07)
31. Maggie Outside (0:31)
32. Sandbox (0:08)
33. Lynch Mob (4:30)
34. Outside the Dome (0:59)

CD 2

01. EPA Helicopter (0:24)
02. Homers Solution (1:29)
03. Believe In America (0:22)
04. Carousel Ride (1:16)
05. Homer Speeds Up (0:54)
06. Gas Station (1:08)
07. Alaska (1:06)
08. Homer and Marge (1:03)
09. Town Panics (1:40)
10. Grand Canyon AD (1:44)
11. One Choice (0:51)
12. Grand Theft Walrus Source (0:24)
13. Game Over Source (0:06)
14. Marge and the Kids Leave (0:42)
15. Carpenter Close to You (3:42)
16. Homer Out Cold (0:31)
17. Homers Epiphany (2:22)
18. Spiderpig (1:06)
19. Giddyup (0:36)
20. Must Keep Going-Boob Lady (0:35)
21. Homer Sees Dome (0:25)
22. Lisa Saxophone Source (0:16)
23. Wrecking Ball (0:56)
24. Town in Ruins (0:07)
25. Emperor Moe (0:15)
26. Operation Soaring Eagle (0:34)
27. Homer Climbs the Dome (0:36)
28. Harmonica Source (0:07)
29. Supply Shed-Tricked By An Idiot (0:51)
30. Bart Goes to Church (1:39)
31. Epiphany Tree (0:48)
32. Nice Knowing You Homer (2:28)
33. Cargill Ver. 1 (0:41)
34. Cargill Ver. 2 (0:43)
35. A Happy Ending (1:51)
36. Homer Suite (5:08)
37. Giddyup Suite (3:08)
38. Theme Suite (4:57)
39. Springfield Anthem (Cast) (0:40)

Dakota reply Replies: 0 || 2011-02-20 00:00:00
Ya ok, 1m11-12 Chruch Prophecy definitely belongs with Angels & Demons. I've heard it in the trailer. And you can hear the themes in there.

Dakota reply Replies: 0 || 2010-10-25 00:00:00
@Prott,

Very interesting, didn't even notice that one. It sounds like it belongs in Angels & Demons

Prott reply Replies: 0 || 2010-10-24 00:00:00
1m11-12v17
Source cue for Angels & Demons? :-)

Skyler reply Replies: 0 || 2010-08-28 00:00:00
I didn't realize until listening to this complete version just how much music there is on the commercial release that *wasn't* in the film.

Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-08-28 00:00:00
Im sure this edition is very cool!! I love the music of the official release. Nice!!

Hybrid Soldier reply Replies: 0 || 2010-08-28 00:00:00
What, spending hours to create pages for this site ? Yeah that'd be me !!! :D

Anonymous reply Replies: 0 || 2010-08-28 00:00:00
is this your doing, hybrid soldier?

Hybrid Soldier reply Replies: 0 || 2010-08-27 00:00:00
And here we are (again) !

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The Simpsons Movie (Complete Score) soundtrack - Hans Zimmer 2007